Lesson for the day: vision is always ahead of execution - and it should be.

Art is like beginning a sentence before you know its ending.

The seed of your next artwork lies embedded in the imperfections of your current piece.

The seed of your next artwork lies embedded in the imperfections of your current piece. Such imperfections are your guides - valuable, objective, non-judgmental guides to matters you need to reconsider or develop further.

Tolerance for uncertainty is the prerequisite to succeeding.

The difference between art and craft lies not in the tools you hold in your hands, but in the mental set that guides them. For the artisan, craft is an end in itself. For you, the artist, craft is the vehicle for expressing your vision. Craft is the visible edge of art.

Artmaking involves skills that can be learned. . . In large measure becoming an artist consists of learning to accept yourself, which makes your work personal, and in following your own voice, which makes your work distinctive. . . Even talent is rarely distinguishable, over the long run, from perseverance and lots of hard work.

The lessons you are meant to learn are in your work. To see them, you need only look at the work clearly - without judgment, without need or fear, without wishes or hopes. Without emotional expectations. Ask your work what it needs, not what you need. Then set aside your fears and listen, the way a good parent listens to a child

What you need to know about the next piece is contained in the last piece. The place to learn about your materials is in the last use of your materials. The place to learn about your execution is in your execution. Put simply, your work is your guide: a complete, comprehensive, limitless reference book on your work.

Vision, Uncertainty, and Knowledge of Materials are inevitabilities that all artists must acknowledge and learn from: vision is always ahead of execution, knowledge of materials is your contact with reality, and uncertainty is a virtue.

There's generally no good reason why others should care about most of any one artist's work. The function of the overwhelming majority of your artwork is simply to teach you how to make the small fraction of your artwork that soars.

Look at your work and it tells you how it is when you hold back or when you embrace. When you are lazy, your art is lazy when you hold back, it holds back when you hesitate, it stands there staring, hands in its pockets. But when you commit, it comes on like blazes.

Nature places a simple constraint on those who leave the flock to go their own way: they get eaten. In society it's a bit more complicated. Nonetheless the admonition stands: avoiding the unknown has considerable survival value. Society, nature, and artmaking tend to produce guarded creatures.

We have to construct communities of artists because they don't naturally exist in our culture.